Pianist John Taylor is one of a handful of people who have defined the sound of both British and European jazz, typically through his work as a sideman or collaborator. When he leads a band, he evokes the atmosphere of a hundred or more albums, as he does for this packed temple of Euro-jazz.

Consolation, by Kenny Wheeler, sets the mood for the evening: inventive, constantly shifting drumming from Martin France; supple bass from Palle Danielsson; subtle saxophone from Julian Argüelles, who slides around the self-effacing melody with a gentle subtone. The first set includes The Woodcocks, from Taylor's new trio album Whirlpool, and Ritual, whose mallets and sonorous low piano chords evoke memories of Stan Tracey's Starless and Bible Black. When Taylor solos, he grabs each moment by the scruff of the neck, playing right on top of the beat with an aggressive urgency that belies his age.

The second half is taken up with Requiem for a Dreamer, a seven-part suite in which Taylor joins the long queue of musicians claiming inspiration from novelist Kurt Vonnegut. The strongest section is the opening and closing title piece, which boasts beautiful, Mike Gibbs-like melodies for piano and soprano sax over a transparent bass figure. Yet Vonnegut's words seem too blunt and funny to complement music as elegantly fragmented as this. Taylor recites a Vonnegut poem while playing along with the broken beat, trying hard, but failing, to keep a straight face. Somehow, it is a distraction; Taylor is more piano player than Player Piano.

· At University of York (01904 432 439), tonight. Then touring.